80 pages • 2 hours read
Fiddler on the Roof
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Symbols & Motifs
The Fiddler on the Roof
In his opening monologue, Tevye decodes the central metaphor of the musical, explaining: “A fiddler on the roof. Sounds crazy, no? But in our little village of Anatevka, you might say every one of us is a fiddler on the roof, trying to scratch out a pleasant, simple tune without breaking his neck” (1). The musical takes this symbol from a Marc Chagall painting series of a fiddler playing on a roof as some of many paintings that expounded upon Chagall’s memories of living in Russia. The image is one of perpetual but necessary danger. For a poor man trying to feed his family, a small mistake or accident can mean that they will starve. His missing horse indicates how a seemingly minor or routine incident causes major difficulties in his ability to work and sustain his family’s lives. Staying on the roof signifies a resistance to assimilation, although assimilation would be much safer and easier. The fiddler’s presence on the roof represents tradition that may not have an obvious reason but works to maintain a balance.
Music is one of the ways that Jewish culture is set apart in Fiddler on the Roof. The non-Jewish characters sing very little. The score is dominated not only by the fiddler’s playing but by the sounds of traditional Jewish klezmer music. Unlike most musical theatre orchestras, the musicians play a role in the show, appearing to celebrate Lazar and Tevye’s agreement in “L’Chaim” (28) and again to accompany Tevye’s fabricated nightmare. At the end of Act I, the musicians play for Tzeitel and Motel’s wedding. Before the Russians destroy the wedding, the Constable orders the musicians to “Go on, play” (65). And as Tevye and his guests clean up the mess, the musicians stay onstage. The ongoing music represents a continuation of Jewishness and culture, persevering through subjugation and forced scattering. At the end, the fiddler goes with the villagers when they leave because their music will continue, even when they are in new homes.
Sunrise/Sunset
At Tzeitel and Motel’s wedding, Tevye and Golde lead the cast in “Sunrise, Sunset” (57), a poignant song about the passage of time and the way that children grow quickly into adults. In Jewish religion and tradition, sunset is particularly significant as the beginning point for holy days. The Sabbath, for instance, begins at sunset on Friday night. Since keeping the Sabbath requires observants to maintain a day of rest, Jewish law forbids working or anything that can be construed as working such as writing a letter or starting a fire. Therefore, the coming sunset on Friday creates a deadline by which Tevye must be in the house and finished with work. The song “Sunrise, Sunset” indicates an understanding of the passage of time as based in the movements of the sun rather than simply the counting of days. The sunrise and sunset are foundational in the Jewish calendar, which functions differently than the Gregorian calendar, which is the most widely-recognized version of the calendar across the globe. Adherence to the Jewish calendar indicates a resistance to assimilation, which is key to the preservation of Judaism and Jewish culture.
References to sunrise and sunset also indicate the ongoing cycle of time. For instance, at the wedding, Tevye and Golde marvel at the children they knew and loved who have grown into adults so quickly. When Motel asks Tevye for permission to marry Tzeitel, Tevye nearly brushes him off and then realizes that Motel is “beginning to talk like a man” (43). Not only does the description of the cycle of time as “Sunrise, Sunset” suggest that time moves quickly, it implies that the passage of time is perpetual and unceasing. Sunrise and sunset are external to humanity and human intervention. The sun will continue to rise and set long after Tevye and his family are gone. While tradition may shift and change with the times, sunrise and sunset remain constant. The musical makes the same point about the persistence of the Jewish people and their ability to persevere as a constant, even as they are repeatedly torn apart.
Candles
Candles and light are significant symbols in Jewish religious tradition. As the family prepares for the Sabbath near the beginning of the play, Tevye urges everyone to go in the house because it is time to light the candles, which marks the beginning of the Sabbath. Candles in Judaism reference God as a light against darkness. When the Sabbath ends, lighting a new candle is the first act of work that ends the days of rest and starts the week. Lighting candles is integral to observing Jewish holy days. Jews light candles during Hanukkah because the holiday celebrates the miracle of the eternal flame at the temple in Jerusalem, which, according to religious lore, stayed lit for eight days when there was only enough oil for one. Candles are used to memorialize loved ones who have died.
For Tzeitel and Motel’s wedding, Tevye and Golde give them a pair of candlesticks. These candlesticks are to be central to their home and their promise to practice and uphold Jewish religious traditions. When the Russians attack the wedding, they break one of the candlesticks. Perchik is injured attempting to fight with the Russian who throws them on the ground. Among all of the ruined possessions and gifts, the destruction of one of the candlesticks is an attempt to hinder Tzeitel and Motel’s ability to keep the Sabbath and follow Jewish laws. It is significant at the end that Tevye picks up the candlesticks and discovers that one is broken.
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